The facts of Carlo Gesualdo's life are perhaps as well known as his music: he caught his wife and her lover in the act, brutally murdered them both, fled her enraged family, and entered a life of seclusion where he pursued increasingly arcane and extreme musical experiments. A source of controversy with the present release may be that Les Arts Florissants director Paul Agnew argues in the booklet that the wildly experimental qualities of the last books of Gesualdo's madrigals, even found in the Book IV pieces included here, ...
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The facts of Carlo Gesualdo's life are perhaps as well known as his music: he caught his wife and her lover in the act, brutally murdered them both, fled her enraged family, and entered a life of seclusion where he pursued increasingly arcane and extreme musical experiments. A source of controversy with the present release may be that Les Arts Florissants director Paul Agnew argues in the booklet that the wildly experimental qualities of the last books of Gesualdo's madrigals, even found in the Book IV pieces included here, actually shouldn't be connected to the murder but were rather in the cards at the end of the long Italian madrigal tradition. Agnew has a certain amount of evidence on his side; other composers such as Luca Marenzio and the melodiously named Luzzasco Luzzaschi pursued the same kinds of innovations as Gesualdo did. Whatever one's position, these are unusually strong Gesualdo performances. What Agnew and his singers do that often eludes others is to pay attention to the texts,...
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